Erin K. McNultyhttps://erinkmcnulty.com
Dance Artist & Educator
Sun, 18 Nov 2018 01:19:45 +0000 en
hourly
1 http://wordpress.com/https://secure.gravatar.com/blavatar/c0d32054eba8f8d6a7b6af0f9ba9afd1?s=96&d=https%3A%2F%2Fs0.wp.com%2Fi%2Fbuttonw-com.pngErin K. McNultyhttps://erinkmcnulty.com
10.7.18: New Photography Collaboration – Shoot at Castle Islandhttps://erinkmcnulty.com/2018/10/07/10-7-18-new-photography-collaboration-shoot-at-castle-island/
https://erinkmcnulty.com/2018/10/07/10-7-18-new-photography-collaboration-shoot-at-castle-island/#respondSun, 07 Oct 2018 04:01:06 +0000http://erinkmcnulty.com/?p=1206I had the absolute privilege of shooting with Boston photographer Christina Ferragamo recently, at one of my favorite spots in the city. I’d been wanting to shoot at Castle Island for years and was so excited to finally make it happen! Check out a few of the images we created below. Having stone, grass, and ocean as backdrops provided so many great textures and a beautiful atmosphere to work with; and Christina did an incredible job of framing moving moments. Enjoy!

]]>https://erinkmcnulty.com/2018/10/07/10-7-18-new-photography-collaboration-shoot-at-castle-island/feed/0IMG_94240000mcnult45Photo by Christina Ferragamo10.6.18: Durational Performancehttps://erinkmcnulty.com/2018/10/06/10-6-18-durational-performance/
https://erinkmcnulty.com/2018/10/06/10-6-18-durational-performance/#respondSat, 06 Oct 2018 19:46:54 +0000http://erinkmcnulty.com/?p=1199Last weekend, I performed with Callie Chapman’s Zoe Dance Company at Studio at 550, as part of Cambridge Open Studios. Since people checking out the citywide event would be wandering in and out all day, Chapman designed a 40-minute looped structure that we cycled through continuously from 2-6pm. Our set included movable scrims hung from the ceiling around the space; digital projection on 3 walls as well as the floor, a soundscape managed live by Christopher Konopka, and a projection of actor Tim Mateer, who was Skyping in live and improvising spoken text.

Each dancer (4 of us) had a solo moment (related to one of the four elements, as well as the stages of transformation – nothingness/contentment, seeking, having, and letting go); we also had designated ‘tasks’ to do during our downtime in between. For all of us, this included walking the perimeter of the room. My other task involved a step ladder with a bowl of water placed at the top. Other sections had handheld lights, a pile of rocks, a projector, clothing, etc.

In this very dense space, we worked continuously for four hours. This blew my previous performance time record out of the water, and was an experience I was not quite prepared for!

A few takeaways:

Endurance – This performance required physical and mental endurance at a level I had not reached prior. I experienced boredom, discovery, meditation, exhaustion, exhilaration, and rootedness. There were almost always audience members, and even the brief moments where no one was in the room, we could not ‘break’ in case someone entered suddenly (we were, however, permitted to disappear into the back room for quick bathroom and water/snack breaks!). Simply having to be “present” at the heightened level a performance, especially an improvisation-based one, requires for that long was surprisingly draining. I kept my breaks short and rare to not fall out too much, and used methods such as counting steps, breathing, witnessing others, and internal narrative to focus continuously.

Repetition – I honestly would not be surprised if I walked the perimeter of that room 100 times. I’m not going to pretend every orbit or even every task/moment of solo dancing was fulfilling and my mind was totally present. But, the experience itself of this extended reptition was a discovery for me – how I coped, how the external and internal did or didn’t match up, how things slowly evolved, how I was able to maintain, how I was able to try slightly new things and examine the consequences. Pushing myself to repeat so many times was a worthy task in itself.

Baseline & Breaking It –Eventually, Callie communicated to all of us that we could try making new choices, outside of our structure. We honestly probably broke the structure a bit too much; but, because we’d been moving within this cycle for so long, we felt so held within the space and within our connection to each other that we just melded right into some pretty incredible group improvisations. I came home and wrote out 3 full pages of notes to remember some of the moments we created. This trajectory of meticulously and exhaustively building a structure, and then breaking it, yielded such rich results that both the improvisation and returning to the cycle afterwards felt like relief.

]]>https://erinkmcnulty.com/2018/10/06/10-6-18-durational-performance/feed/042954487_10217278448850845_9161283585896873984_omcnult4542926833_10217278447890821_8453316655886368768_o42874290_10217278449370858_7178600066427387904_o42927799_10217278446770793_6097239408530948096_o9.17.18: BU Young Alumni Blog Featurehttps://erinkmcnulty.com/2018/09/18/9-17-18-bu-young-alumni-blog-feature/
https://erinkmcnulty.com/2018/09/18/9-17-18-bu-young-alumni-blog-feature/#respondTue, 18 Sep 2018 03:58:49 +0000http://erinkmcnulty.com/?p=1156When people ask about my background, I often used the phrase “took a hard left turn” when explaining my college degree versus my career. So, it’s been pretty cool to connect this year with the BU Alumni office and talk more in-depth about what I do, why I do it, and how the skills and connections I gained at BU were actually vital factors! The Young Alumni staff are awesome and really passionate about supporting and connecting with graduates – my initial contact was someone in the office directly reaching out to me after seeing my LinkedIn profile, curious to connect with someone who ended up in the arts! After going to a few events and having some great conversations, the lovely Elizabeth Anderson has now published a little blog article about my trajectory. Happy to be reconnecting with (and to have dance and the arts spotlighted by!) my alma mater!

]]>https://erinkmcnulty.com/2018/09/18/9-17-18-bu-young-alumni-blog-feature/feed/0DSC_7130mcnult459.10.18: Reflecting Post-Premiere & What’s Next for “Deviation”!https://erinkmcnulty.com/2018/09/11/9-10-18-reflecting-post-premiere-whats-next-for-deviation/
https://erinkmcnulty.com/2018/09/11/9-10-18-reflecting-post-premiere-whats-next-for-deviation/#respondTue, 11 Sep 2018 03:03:44 +0000http://erinkmcnulty.com/?p=1118Thrilled and humbled to report that our premiere screening event for Deviation, Twice Removed on Saturday was a resounding success! To be totally transparent, planning an event like this, complete with a last minute venue change and unexpected tech needs, was pretty stressful – but, having the day itself go so wonderfully was even sweeter because of it. We had over 40 attendees, in a beautiful space at the Social Register, and a rich Q&A discussion!

Having watched the film dozens of times myself throughout the post-production process, it was nerve-wracking to watch it again among a crowd seeing it for the very first time. I was very aware how different people’s perceptions may be seeing it with fresh eyes! The post-screening conversation, however, confirmed for me that we had made a product that could resonate, and that was filled with enough suggestion of our true choreographic intent/narrative to lead viewers gently into that world for themselves. Some of the feedback and questions we received included:

How the set factored into the narrative and theme – could we have shot this anywhere else? Was having nature be part of it, as opposed to an urban or industrial space, a necessity?

At what point did the music come into the work? It “seemed as if we [the dancers] were making the music with our bodies in real time” – what was the musician’s process?

How did we build the choreography? Where the work began as a duet for the stage, how much of that original movement did we end up using? How did things change over time and how did we piece it together for the film medium AND for the set we were in?

Could I talk a bit more about the genetic memory concept in itself – how did I initially go about making a dance about this idea? Why does it interest me?

What will we (as dancers, as a choreographer, as filmmakers) take forward from this experience? Has it changed any of our processes?

Who were we as “characters” in the film? Was it significant/purposeful that Carolyn was dirty and I was more pristine?

Am I going to keep going with this work/concept, or do I feel like this is a ‘finished product’ at this point?

We will be screening again at the Shawna Shea Memorial Film Festival, which runs October 3rd-6th in Southbridge, MA (we are being shown on Saturday, October 6th as part of the Experimental Shorts category). Visit their website for more information and tickets!

I will update here on the blog, as well as on social media, with any further festival screenings!

]]>https://erinkmcnulty.com/2018/09/11/9-10-18-reflecting-post-premiere-whats-next-for-deviation/feed/0IMG_20180908_163745mcnult458.9.18: Film Premiere Event on Sept. 8th Announced!https://erinkmcnulty.com/2018/08/09/8-9-18-film-premiere-event-on-sept-8th-announced/
https://erinkmcnulty.com/2018/08/09/8-9-18-film-premiere-event-on-sept-8th-announced/#respondThu, 09 Aug 2018 16:37:40 +0000http://erinkmcnulty.com/?p=1060Please join us on Saturday, September 8th for the premiere screening of our dance film, Deviation, Twice Removed. I am thrilled to finally share this collaborative piece of work with our community!

Deviation, Twice Removed

Premiere Screening

Sat. September 8th, 2018 // 4-6pm

The Social Register, 401 D Street, Boston

Please join us starting at 4pm for drinks and complimentary appetizers. We will screen the film (24 minutes) promptly at 4:30pm, to be followed by an informal talkback/Q&A with the choreographer and directors.

I returned last weekend from an incredible trip to Jasper National Park with my sister, where we hiked, rode horses, swam, and road-tripped for an entire week around the Canadian Rockies. After a red-eye flight home, I also performed my Headlines solo one final time at Somerville Arts Council’s wonderful ArtBeat festival on Sat. July 14th. I was so happy to be a part of this amazing event along with Liz Powers, Continuum Dance Project, Connections Dance Theater, and Ruckus Dance (and very relieved that my adrenaline carried my extremely tired self through this difficult solo!).

Working with directors Chris Di Nunzio and Skip Shea, as well as musician Josh Knowles, to put the finishing touches (!) on my dance film, Deviation, Twice Removed – I am also planning a premiere screening event at Capo Restaurant & Supper Club in South Boston for September (stay tuned for the exact date and time!)

Participating in a 3-day Gaga workshop at Green Street Studios in August with Mario Zambrano, taking classes in Gaga/dancers as well as Ohad Naharin’s repertory

Planning what’s next! After touring a solo this year, I am beginning to think about creating a group piece next so am busily working on a concept, research, and recruitment; details coming soon!

Happy summer to all!

]]>https://erinkmcnulty.com/2018/07/20/7-20-18-summer-teaching-dancing-updates/feed/034387739_10156350782200070_4954658123588567040_omcnult456.11.18: Behind-the-Scenes! On the Set of Deviation, Twice Removedhttps://erinkmcnulty.com/2018/06/11/6-11-18-behind-the-scenes-on-the-set-of-deviation-twice-removed/
https://erinkmcnulty.com/2018/06/11/6-11-18-behind-the-scenes-on-the-set-of-deviation-twice-removed/#respondMon, 11 Jun 2018 23:22:48 +0000http://erinkmcnulty.com/?p=994My first film project has officially wrapped up the shooting phase! We got everything done over two days on set – not bad for a 20 minute film!

This was a very different process for me both as a dancer and choreographer. My co-dancer Carolyn and I appreciated the luxury of being able to do multiple takes of our sequences until we felt just right (if only live performances were that way!); but also struggled a bit with narrative build. In a live, continuous performance, you have time as a performer to settle into your role and actually create a real internal experience or “ride” for yourself throughout the piece. Here, where we were shooting relatively short scenes, often out of order, it was a challenge to mentally and emotionally put ourselves into the state required of the narrative.

Designing the flow of the film also presented a challenge for me as a first-time film choreographer. I tried to include scenes and choreography that set up our characters and relationship; presented both strong imagery and movement sequences; and that built to a climax. My director Christopher Di Nunzo and I surprisingly largely stuck with what I had originally sketched out (a little color coded Excel sheet), with a couple additions and rearrangements after the first shoot day. Obviously it remains to be seen how it’ll turn out post-production, but fingers crossed the flow works the way we’re picturing it will!

I really enjoyed designing and getting to play with pure imagery here – something that would fall flat or look underdeveloped in a stage performance could actually be incredibly powerful on film, either through repetition or close-up perspective. For example we did things as simple as tossing our heads back in a canon, and having Carolyn slowly walk behind me across the screen as I unknowingly stare ahead – simple images that shot in closeup and flashed across the screen at strategic points sequentially can strongly impact the viewer.

Our process for most of our sequences was to run our material, discuss where best to “perform” it within our set, then shoot it wide. Skip Shea, a colleague of Christopher’s and accomplished filmmaker in his own right, would make notes about moments he thought we should shoot separately/from a different angle/close-up/etc. and then work with Chris to supplement the wide master shot. Chris also did an amazing job taking the camera off the tripod and going hand-held to get right up in the action and even walk between the two of us as we danced apart spatially.

Beyond that, I was pleasantly surprised at how smooth everything was! Everything from the long drive (partially on unmarked dirt roads with no cell service) to hikers coming through the set, to taking care of our bodies while dancing on stone over long days – it all worked out fine. Kids would come through with their parents and say “Look, a show!”, dogs would run behind us but never actually ruined a shot in progress, there was broken glass all over the place but we somehow never got cut (..miraculous), and we didn’t even get eaten too badly during black fly season!

Next up, I’ll be working with Chris as he dives into the editing process. After a first cut is put together, we’ll be sending it to Josh Knowles so he can compose and record a soundtrack. Then we’ll be releasing trailers later this summer and premiering the full film in the fall! Stay tuned for screening dates!

]]>https://erinkmcnulty.com/2018/06/11/6-11-18-behind-the-scenes-on-the-set-of-deviation-twice-removed/feed/0IMG_1112mcnult45Arches SQUAREErin solo5Dirt65.28.18: Featured Artist Profile in Boston Voyager Magazinehttps://erinkmcnulty.com/2018/05/28/5-28-18-featured-artist-profile-in-boston-voyager-magazine/
https://erinkmcnulty.com/2018/05/28/5-28-18-featured-artist-profile-in-boston-voyager-magazine/#respondMon, 28 May 2018 18:54:54 +0000http://erinkmcnulty.com/?p=945Just published today! Check out my profile in Boston Voyager as part of their “Thought-Provokers” series on artists across the Boston area:

]]>https://erinkmcnulty.com/2018/05/28/5-28-18-featured-artist-profile-in-boston-voyager-magazine/feed/0IMG_8242mcnult455.22.18: Fundraiser for Dance Film is Now Live! Make a Gift Today!https://erinkmcnulty.com/2018/05/22/5-22-18-fundraiser-for-dance-film-is-now-live-make-a-gift-today/
https://erinkmcnulty.com/2018/05/22/5-22-18-fundraiser-for-dance-film-is-now-live-make-a-gift-today/#respondTue, 22 May 2018 22:47:29 +0000http://erinkmcnulty.com/?p=938As announced in my previous post, I am embarking on a new artistic project – the creation of a short contemporary dance film with filmmaker Christopher Di Nunzio! Deviation, Twice Removed abstractly explores the concept of genetic memory through the interactions of two dancers – the light and dark, the echoes, the inevitability of what came before.

The project has received partial funding from the New England Foundation for the Arts’ New England Dance Fund, with generous support from the Aliad Fund at the Boston Foundation. This grant is crucially covering the filming and production costs, including equipment, labor, editing, artistic fees, etc.

I am fundraising an additional $1,500 between now and June 22nd to cover:

Dancers’ Fees

Musician/Composer’s Fee (I am collaborating with violinist Josh Knowles on composing an original score for the film!)

Every gift is so deeply appreciated and goes a long way to making this project the best it can be! Four working artists in dance, film, and music will ultimately benefit, and the film will be a one-of-a-kind piece of work and an accessible way to engage with contemporary dance!

Thank you!

]]>https://erinkmcnulty.com/2018/05/22/5-22-18-fundraiser-for-dance-film-is-now-live-make-a-gift-today/feed/0IMG_3097mcnult455.3.18: ‘Deviation, Twice Removed’ Dance Film Project Receives NEFA Fundinghttps://erinkmcnulty.com/2018/05/03/5-3-18-deviation-twice-removed-dance-film-project-receives-nefa-funding/
https://erinkmcnulty.com/2018/05/03/5-3-18-deviation-twice-removed-dance-film-project-receives-nefa-funding/#commentsThu, 03 May 2018 14:11:17 +0000http://erinkmcnulty.com/?p=903I am thrilled to announce that my plans to turn Deviation, Twice Removed(a stage duet I originally choreographed in London in 2016) into a short dance film are moving full speed ahead!

The film will feature choreography and creative direction by yours truly; dance performances by myself and my collaborator Carolyn Harper; and cinematography/pretty much everything else by filmmaker Christopher Di Nunzio. We are currently in planning meetings and studio rehearsals, and will be heading up to our film location over several days in June.

That location is none other than the Madame Sherri Forest in southwestern New Hampshire. We chose this gorgeous location for both its natural beauty and strangeness – the juxtaposition of dense forest with a manmade ruin, in this case, literally a crumbling mansion staircase to nowhere. It’s the perfect landscape for our abstract exploration of genetic memory, which itself is the intersection of lived human experience with biology.

Be sure to check back here, and to follow me on Instagram (@mcnult45), for a behind-the-scenes look into our process on-site in June. Trailers should be launched later this summer, with a live screening of the full film following in the fall! It’s been a long road and I am so excited to go on this creative journey!